Project 4:: Graphics Standards Manual

PROJECT 4:
GRAPHICS
STANDARDS MANUAL
for Tandura Center for Arts and Culture
EUN BEE CHO | GRPH 3B19 | GRAPHIC DESIGN 4 4/11/14
2 3
GRPH 3B19 | GRAPHIC DESIGN 4 GRAPHICS STANDARDS MANUAL
Table of contents
0.0 Introduction
1.0 Visual Mark of Identity
1.1 Development
1.2 The Finals
2.0 Colour Palette
2.1 Primary Colours
2.2 Secondary Colours
3.0 Usage of Visual Mark
3.1 Bufferzone
3.2 Size Restriction
3.3 Improper Usage

4.0 Applications
4.1 Business Cards
4.2 Letterheads
4.3 Envelopes
4.4 Animation
4.5 Signage
5.0 Colophon
6
20
22
23
24
26
28
30
36
44
52
56
4
62
4 5
THE RESEARCH PROCESS
Tandura Center for Arts and Culture is an organization
that fuels creativity, expression, and passion. With its
collection of complex installations, wild performances,
and contemporary art of all kinds, Tandura strives to
allow people of all ages and backgrounds to bring their
ideas into fruition and to make the impossible possible.
Developing and rationalizing Tandura Centers own
unique identity meant that different corporate brands,
similar to Tandura, were to be explored rst for grounds
to how corporate branding works. Three successful
similar organizations: Center Pompidou in France, Tate
in London, and MoMA in New York were researched
and scrutinized. The three organizations were found to
have differences in their visual idenity, but also found
were common grounds in terms of what their identities
represented and the kinds of visual language that were
used throughout to successfully communicate their
messages.
0.0 INTRODUCTION
6 7 1.0 VISUAL MARK OF IDENTITY 1.1 DEVELOPMENT
EARLY DEVELOPMENT OF LOGO
Early concept sketches of the logos used keywords
such as dynamic, energetic, and diverse as the
framework for the pictorial and typographic elements.
The process included experimentations with the form
of the typography, including playing with sizes and
distortions. Instead of literal pictorial representations
for signettes, more symbolic ideas were depicted due
to the diverse nature of the organization.
WORDMARKS
One of the considerations for the nal wordmark
used overlapping, stretching, and varying the size of
the typography to communicate the multi-faceted
and versatile ethos of the organization; Colours were
also overlapped on top of each other to re-iterate the
message.
SIGNETTES
Signettes were the less regarded choices for the nal
logo due to the complexity of Tandura being difcult
to represent pictorially. Hence, the concepts for most
signettes had to be extremely abstracted.
FINAL CONCEPT
The nal concept chosen to elaborate further derives
from one of the ideas from the signettes. Instead of
simply just using the T, the entire initials are trans-
formed into the layers of vibrating lines to make up the
dynamic wordmark. From then on, the arrangement
and weight of the layers were played around with.
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
abcdefghijklmnop
1234567890

(!@#$%^&*)
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
abcdefghijklmnop
1234567890
(!@#$%^&*)
CHOICE OF TYPOGRAPHY
Sans-serif fonts were considered above any kind of
ornate serif fonts, as serifs wouldnt lend itself to
t Tanduras modern identity. For the wordmark, a
grotesk typeface was regarded since a more geo-
metric font would help to channel the vibrancy of
the lines more evenly to the viewer. The secondary
typography uses a combination of condensed and
light fonts of the same family to contrast with the
wordmark.
Futura
Univers
VARIATIONS
While the full logo always uses the base wordmark,
different textured variations of the wordmark would be
used as supporting elements to the different branches
of Tandura.
INITIAL EXPERIMENTATIONS
Initial experimentation mostly involved the position-
ing of the sub-headings alongside the wordmark. The
biggest issue of positioning the two lines of text was
due to balance: Asymmetrical arrangement of the sub-
headings created distracting spaces in between the
form and interrupted any tertiary elements surrounding
it. Hence why a more symmetrical form was chosen to
constitute the nal logo.
20 21 1.0 VISUAL MARK OF IDENTITY 1.2 THE FINAL
FINAL LOGO
The wordmark and the subheads are centered to
create a near solid form. The word Tandura Center
is emphasized with a thicker condensed face while
for Arts and Culture is tertiary, using a light roman.
22 23 2.0 COLOUR PALETTE 2.2 SECONDARY COLOURS
2.1 PRIMARY COLOURS
SECONDARY COLOURS
There are only four secondary colours shown in this
manual. In reality, there would be much more depend-
ing on how many branches the company decides to
implement. Each eld colour represents a different
section of Tandura, such as purple for installations, and
red for theatre/performance arts. In this case, the colour
white would act as the accent colour against the repre-
sentative eld colours.
C: 47
M: 77
Y: 0
K: 0
C: 66
M: 0
Y: 26
K: 0
C: 6
M: 100
Y: 67
K: 0
C: 65
M: 0
Y: 98
K: 0
R: 148
B: 88
G: 164
R: 62
B: 192
G: 197
R: 225
B: 28
G: 75
R: 98
B: 188
G: 72
C: 0
M: 0
Y: 0
K: 100
C: 0
M: 0
Y: 0
K: 0
R: 0
B: 0
G: 0
R: 225
B: 225
G: 225
PRIMARY COLOURS
Tandura Center for Arts and Culture has many branch-
es/factions that would be identied with each having
their own accent colours. However, Tanduras overall
identity would consist of black and white, as those two
colours are considered neutral and universal in con-
trast to the array of playful colours that would apply to
its individual sections.
PMS:
3115 C
PMS:
258 C
PMS:
1935 C
PMS:
Black 6 C
PMS:
7485 C
PMS:
361 C
24 25 3.0 PROPER USAGE OF VISUAL MARK 3.1 BUFFERZONE
BUFFERZONE
The size of the bufferzone is determined by the rst
three letters of the subheading TAN. The boundaries
are consistent from all four directions.
26 27 3.0 PROPER USAGE OF VISUAL MARK 3.2 SIZE RESTRICTION
SIZE RESTRICTION
Because the amount of details in the wordmark and
the neness of for Arts and Culture, the logo should
be no less smaller than three fourths of an inch, any
smaller would result in the intricacies becoming lost
and start to cause optical strain. Therefore the preferred
size is slightly larger than the minimum.
0.75 in
54 px
Minimum print size
Minimum digital size
85 px
Preferred digital size
28 29 3.0 PROPER USAGE OF VISUAL MARK 3.3 IMPROPER USAGE
IMPROPER USAGE
Do not use the logo without the TCAC wordmark.
Do not stretch, skew, or distort the logo.
Do not rotate the logo. The full logo (wordmark and
subheadings) should always be kept in a horizontal
orientation.
Do not enclose the logo within any shape that could
be mistaken as a part of the logo.
30 31 4.0 APPLICATIONS 4.1 BUSINESS CARDS
SECONDARY ELEMENTS
As a part of Tanduras identity, the stationery of each
branch has its own supporting textural element, ow-
ing through the layouts. The use of these elements are
very minimal, only seeping through the edges and not
overpowering the other main elements in any way.
Front Back
2 In
3.5 In
George Stroumboulopoulos
Paints and Sculptures Gallery
Manager
Tel: 647-882-7169 Fax: 9876543 GeorgeS@Gmail.com www.tanduracentre.com
5664 Bright Rise, Salt Chuck Quebec, Canada GDW 1J2
*At 100% size
Gene Lee
Department of Skating
Instructor
Tel: 647-882-7169 Fax: 9876543 GeneLee@Gmail.com www.tanduracentre.com
5664 Bright Rise, Salt Chuck Quebec, Canada GDW1J2
George Stroumboulopoulos
Paints and Sculptures Gallery
Manager
Tel: 647-882-7169 Fax: 9876543 GeorgeS@Gmail.com www.tanduracentre.com
Ryan Tan
Installations Gallery
Manager
Tel: 647-882-7169 Fax: 9876543 RyanTan@Gmail.com www.tanduracentre.com
Eli Dirkx
Department of
Performance Arts
Instructor
Tel: 647-882-7169 Fax: 9876543 EliDirkx@Gmail.com www.tanduracentre.com
36 37 4.0 APPLICATIONS 4.2 LETTERHEADS
Tel: 647-882-7169 Fax: 9876543 Tandura@Gmail.com www.tanduracentre.com
5
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Dear Mrs. Blank,
27/08/14
Jenny Lee
2202 Kipling Avenue,
Toronto, Ontario
M9W 3Z9
1.5 in
0.5 in
0.5 in
11 in
8.5 in
*Scaled down 60%
Front Back
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44 45 4.0 APPLICATIONS 4.3 ENVELOPES
194 AutumnHill Blvd.
Thornhill, Ontario
Canada
L4J 8Y7
4.25 in
2 in
9.5 in
0.7 in 2.1 in
*Scaled down 70%
Front Back
52 53 4.0 APPLICATIONS 4.4 ANIMATION
ANIMATION SEQUENCE
The animated wordmark is drawn layer by layer, gradu-
ally adding more lines until TCAC is fully formed. The
subheadings would fade in at the end to form the entire
logo. The animated logo used in the webpage would
use its neutral base colour, black only.
54 55 4.0 APPLICATIONS 4.4 ANIMATION
WEB PAGE
The animated logo would be applied to the web page
on the upper left corner. This interface would allow any
future additional branch to be added into the built-in
colour coded navigation bar.
STALLATIONS THEATRE
56 57 4.0 APPLICATIONS 4.5 SIGNAGE
SIGNAGE
The tertiary application is the design and installation
of a waynding system. The navigation sign would
be paired with a banner of its respective faction, and
colour coded as well to allow them to be easily iden-
tiable. The navigation signage is approximately two
thirds of the height of the average adult and would be
leveled and positioned to the eye level.
40 in
20 in 68 in
PERFORMANCE
THEATRE
62 63 5.0 COLOPHON
Printing Paper:
Pastel Card Stock 9 x 12 in
Softwares:
Adobe InDesign CS5
Adobe Illustrator CS5
Typefaces:
Futura Medium
Univers LT Std

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